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Jerry, messenger and part-time medical supplier (read
"grave-robber") is seated next to his son, young Jerry, the relationship made
immediately manifest be similarities in the clothing, posture, and
physiognomy. Jerry is every inch the eighteenth-century "bully boy" straight out of such Hogarth compositions as Chairing of the Candidate, complete with
rough-hewn cane suitable for street fighting. [Continued below]

Waiting to be called to deliver
a letter for one of the bank's employees, the pair are leaning against the wall
outside Tellson's in Dickens's A Tale of Two Cities,
Book the Second, "The Golden Thread," ch. 1, "Five Years Later." (The picture
is positioned on p. 28, but references a passage in an earlier chapter.)The
passage Illustrated is likely this:

Outside Tellson's — never by any means in it, unless called
in — was an odd-job-man, an occasional porter and messenger, who served
as the live sign of the house. He was never absent during business
hours, unless
upon an errand, and then he was represented by his son: a grisly urchin of
twelve, who was his express image. People understood that Tellson's, in a
stately way, tolerated the odd-job-man. The House had always tolerated some
person in that capacity, and time and tide had drifted this person to the post.
His surname was Cruncher, and on the youthful occasion of his renouncing by
proxy the works of darkness, in the easterly parish church of Houndsditch, he
had received the added appellation of Jerry. [24]

Jerry is of a much burlier, robust, and physically intimidating species of
private messenger (the Victorian penny-post being many years in the offing as
A Tale of Two Cities opens during the Seven
Years War)
than the gentle Trotty Veck, the humble ticket-porter of The
Chimes (1844).